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The Dynamics of Adolescence and Mothers

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The Dynamics of Adolescence and Mothers Future Clan: A Visual Investigation into the Dynamics of Adolescence and Mothers by Gabrielle Falconer A thesis submitted to the Department of Fine Arts In conformity with the requirements for the degree of PhD University of Tasmania April, 2012 Abstract This project is a visual interpretation of my journey of motherhood at the time of my son‟s adolescence. Adolescence encompasses a reshaping of roles and relationships for both mother and son and these shifts are often accompanied by confusion and conflict. The relationship between parent and child is central, and is presented in this submission from the perspective of the mother. The balance between dependency and independence for the adolescent, and a mother‟s response to these oscillations, has been central to the overall project. There are a number of questions that arise from this personal investigation that have a theoretical underpinning, including; How can portraiture explore the complex realm of selfhood and the subject? and What place does such an intimate exploration of a lived experience have in contemporary art? and Why has this aspect of women‟s lives been so little explored by artists? The exegesis reviews feminist writing on motherhood and art, such as theorists Marianne Hirsch, Carol Armstrong Rozsika Parker and Andrea Liss. It is significant that as recently as the 2009 publication Feminist Art and the Maternal, Andrea Liss questions why the perspective of the mother has been under- represented within contemporary art practice. Following this there is a discussion of portraiture and expressionism and how these operate within this research project. Finally there is a discussion of printmaking processes that allow for an expression of the embodied experience of motherhood and how the use of a camera to record poses, expresses the fragmented experience of parenting. ii I have located this research within the context of artists working in an autobiographical manner focussing on the intimate relationships with their own children. These include Suzanne Valadon, Käthe Kollwitz and Sally Mann. These artists use portraiture to explore the relationship of the child and the maternal gaze and the conflicted role of the mother/artist. The second contextual grouping is artists who have made work specifically about adolescence: Hellen Van Meene, Rineke Dijkstra and Lise Sarfati. These artists deal with the search for identity in which the adolescent is engaged as well as the adolescent‟s relationship to his/her changing physical form and awareness of self-image. These artists are all photographers and work with models who are not related to them. In my final presentation there are five series of prints. The series and their titles do not represent a chronology of events but rather are grouped to reflect discrete psychological states. The printmaking processes of woodcut, collagraph and etching are used, and combined in many cases, to represent these states and reflect an ongoing experimentation. The works use colour, texture and scale as well as an expressive mark making in order to engage with the mother‟s empathetic view of her son. The research project is an intensive visual portrayal of one individual over several years. The final works and exegesis contribute to an understanding of what it is to be a mother of a troubled adolescent at this time, with all the ambiguities and anxieties that pertain to that experience. It portrays the anguish of the artist in iii revealing the dark side, seldom expressed, of mothering, in exposing frailties in parenting, while still honouring and respecting her son in the process. iv Acknowledgements I extend special thanks to my supervisors Milan Milojevic and Llewellyn Negrin for their advice, support and encouragement throughout this project. I would also like to thank John Robinson for his technical assistance in printmaking. Thank you to Jenny Dean for valuable feedback and support and to Amy Jackett and Jenny Dean for their editorial assistance. Thanks are also due to my fellow post˗graduate students at the School of Art, to the lecturers and to Paul Zika, Head of Research. I am indebted to my mother Sandra Falconer for her support and wisdom that has encouraged me throughout this project. Finally I want to thank and acknowledge my son Hugh Falconer for being the subject of such scrutiny for the past eighteen years. He has always happily given his time to pose and participate in this process and his genuine enthusiasm for art and expression has inspired me. v Copyright statement This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief, no material previously published or written by another person except where due acknowledgement is made in the text of the thesis. This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Signed: _________________________________________________________________ vi Table of Contents Abstract .................................................................................................................... ii Acknowledgements .................................................................................................. v Introduction .............................................................................................................. 1 Background .......................................................................................................... 1 Motivation and aims of the project ....................................................................... 5 Chapter One The Central Argument ...................................................................... 12 Introduction ........................................................................................................ 12 The experience of adolescence from the point of view of the mother ............... 12 The conflicted role of the mother/artist .............................................................. 18 Selfhood and Portraiture ..................................................................................... 22 Expressionism, printmaking and portraiture ...................................................... 26 Chapter Two Context ............................................................................................. 35 Artists and the intimate portrait .......................................................................... 36 Suzanne Valadon ............................................................................................ 36 Käthe Kollwitz ................................................................................................ 43 Sally Mann ...................................................................................................... 49 Artists‟ portrayals of adolescence ...................................................................... 53 Hellen Van Meene .......................................................................................... 54 Rineke Dijkstra ............................................................................................... 60 Lise Sarfati ...................................................................................................... 68 Chapter Three Pursuing the Work.......................................................................... 75 Rage I and Rage II ......................................................................................... 77 Hoodie Series .................................................................................................. 83 Facing In ........................................................................................................ 92 Any way the wind blows ............................................................................... 97 Head Shots ................................................................................................... 103 Conclusion ........................................................................................................ 109 vii References ............................................................................................................ 114 viii List of Figures Figure 1: Gabrielle Falconer, Untitled, 1995,etching and aquatint, 60x 50cm each 2 Figure 2: Gabrielle Falconer, The Boy, 2002, etching and aquatint, 70 x 40cm ...... 3 Figure 3: Gabrielle Falconer, The Tender Years, etching and aquatint, 2003, 70 x 50cm ......................................................................................................................... 4 Figure 4: Sally Mann, Holding Virginia, 1989, gelatin silver print, 61 x50.8cm, The Art Institute of Chicago ....................................................................................... 200 Figure 5: Edvard Munch, The Sick Child, 1896, lithograph, 42 x 56.5cm, Munch Museum, Oslo ...................................................................................................... 244 Figure 6: Edvard Munch, Puberty, 1895, oil on canvas, 151.5 x 110cm, The National Gallery, Oslo ......................................................................................... 255 Figure 7: Rembrandt, The Jewish Bride, 1665, oil on canvas, 121.5 x 166.5 cm, Rijksmuseum, Amsterdam ................................................................................... 288 Figure 8: Lucian Freud, Sleeping Head, 1979 - 1980, oil on canvas, 40.3 x 50.4cm, private collection
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